Welcome to The Hartford Recording Studio, a world-class audio production facility located in Downtown Hartford, Connecticut. Offering the highest Industry Quality Recording, Mixing, Mastering and Production in CT by our experienced team of Engineers and Producers. You can record with us or bring your sessions in and get them mixed and mastered. Our blend of State of the Art and Vintage Equipment gives you the best of both worlds with the Accuracy and Control of Digital and the Warmth and Feel of Analog setups. Performance Recordings, Vocal Over Dubbing for film, Music Production/ Engineering Lessons, Song Writing, Pitch Correction, Vocal Alignment, Mixing, Mastering and even Cd Duplication. If it has to do with Audio and Recording... We Can Help. Our State of the Art Studios are in a Prime Location and has been the Go-to Studio in the area for more than 15 years. Contact Us Today and Give Your Project The Sound it deserves.

The history of rock & roll is littered with breakup albums, and early this year the genre received a notable addition in the form of Björk’s Vulnicura. The futuristic experimentation of 2011’s Biophilia has given way to exquisite yet stark string arrangements, written by Björk, augmented by cutting–edge electronics, again courtesy of Björk, mostly in collaboration with young electronic music artists Arca, the Haxan Cloak and Spaces. Together the music and the lyrics create a compelling journey from pre–breakup unease, to the desolation of her split with long–term partner, artist Matthew Barney, to post–breakup despair and eventual healing.

In an email interview with SOS, Björk calls Vulnicura “my most ‘psychological’ album” and “an Ingmar Bergman album”, harking back to an era when art was expected to challenge and disturb. However, while the content and approach of Vulnicura may recall times past, and the heartbreak theme itself obviously is as old as mankind, the album’s form and manner in which it was made are entirely 21st Century.

New York festival The Meadows has announced its lineup for 2017. Jay Z, Gorillaz, and Red Hot Chili Peppers are headliners with Future, Nas, M.I.A., and Erykah Badu also appearing on the stacked bill.

The second annual festival takes place between September 15-17 in Queens, New York at the Citi Field complex. Other artists scheduled to perform across the weekend include Run The Jewels, Migos, Action Bronson, Blood Orange, 21 Savage, Sky Ferreira, Joey Bada$$, Big Boi, Swet Shop Boys, Kamaiayah, Dave, and many more. Check out the full lineup above.

Tickets for The Meadows 2017 are on sale Wednesday, May 10 at 12 P.M. EST. The festival will also be livestreamed exclusively by TIDAL.

Rappers Kanye West and 50 Cent intentionally put their latest albums under starter’s orders on the same date, September 11, 2007, so they could slug it out in the charts, 50 Cent sulkily declaring that he would stop releasing records if he lost the race (a statement he since appears to have retracted). As both artists had enlisted the services of celebrity producer Timbaland, the whole thing felt rather like a family feud gone public. There appears to be no clear winner yet in their who–sells–the–most–albums stakes, but West has had one of the hits of the year in ‘Stronger’, which was a UK and US number 1.

‘Stronger’ is constructed around a sample of ‘Harder, Better, Faster, Stronger’ by French duo Daft Punk, itself based on a sample of a song by ’70s funkateer and keyboardist Edwin Birdsong called ‘Cola Bottle Baby’. Daft Punk strongly quantised the beat and added vocoded vocals, giving the song a Kraftwerk–like robotic feel. They also added a melodic chorus with a descending chord sequence, which was the section West sampled. The American rapper and producer then slowed down and loosened the rhythm, and overdubbed pulsating synths, evocative rapping and singing, transforming a robotic feel into something much more soulful.

Phil Tan's work has appeared on albums and singles that have sold in excess of a staggering 150 million in the US alone. He specialises in R&B and hip-hop, and his credits include Usher, Snoop Dogg, the Neptunes, Fergie, Ne-Yo, Nelly, Ludacris, Destiny's Child, Gwen Stefani, Mariah Carey, Alicia Keys, Janet Jackson, Busta Rhymes, Aretha Franklin, Elton John, Cee-Lo, Toni Braxton, Run DMC and many, many more. In November 2006, when this interview took place, 16 songs mixed by him featured in the US Billboard Hot 100 & Hot R&B/Hip-Hop Songs chart, and 23 albums containing his mixes were in the Billboard 200 album chart

Josh Gudwin has been Bieber’s sidekick for half a decade. The engineer and mixer has enjoyed a fairly meteoric career, studying at Florida’s Full Sail University during 2005-2006, interning at Track Records Studio in LA, working with songwriter Esther Dean, and most of all studying for two years with America’s number one vocal producer, Kuk Harrell. In the process Gudwin clocked up an array of big-name credits, including TI, Lionel Richie, T-Pain, Quincy Jones, Rihanna, Jennifer Lopez, Carly Rae Jepsen, Celine Dion and Pharrell Williams. However, his first meeting with Bieber in 2010 proved the most significant of his career to date, and Gudwin has since worked with Bieber on studio, remix and compilation albums like Under The Mistletoe, Never Say Never: The Remixes, Believe, Believe Acoustic, Journals, and Live At Madison Square Garden.

On his Facebook, Soundcloud and other social media pages, Montagnese describes what he does simply thus: “I paint sounds.” All sounds recorded and sourced in the “real world” serve as basic starting points for him to paint with and on, a bit like ‘found objects’ in art, and the painting takes place entirely ‘in the box’, where Steinberg’s Cubase functions as his canvas, palette, paint and brush. It’s how Montagnese approached his debut solo album, History Of Man (2013), which contains experimental electronic music in a similar vein to Aphex Twin and Autechre. It’s how he approaches his work with other artists on a rapidly lengthening credit list containing names such as Florence & the Machine, Lady Gaga, Drake, Wiz Khalifa, MIA and, of course, the Weeknd. In all these cases, Montagnese has managed to marry commercial adroitness with an experimental approach to painting sounds. This was most ear–catchingly in evidence on the Weeknd’s US number-one single, ‘The Hills’, which combines a catchy melody with heavily treated vocals and all manner of sonic weirdness.

The album from which the single was taken, Beauty Behind The Madness, has proved a stunning commercial success, reaching number one in dozens of countries and gearing up to become one of 2015’s biggest albums. Montagnese had a hand in the making of seven of the album’s 14 tracks, and also executive–produced the entire album with Tesfaye and Jason ‘Daheala’ Quenneville. Also involved was legendary pop producer Max Martin, the driving force behind the first big hit off the album, ‘Can’t Feel My Face’. In a sign of the Weeknd’s omnipresence, that single was eventually bumped off the US top spot by ‘The Hills’ after the latter song had spent months roaming halfway down the charts since its June release.

Mastering is arguably the least well understood step in the music production chain. So, to demystify things, we headed to Black Saloon Studios to examine that very process with Mandy Parnell, mastering engineer to Björk, Aphex Twin, Snoop Dogg and White Stripes.

Get comfortable and settle in for some serious advice from the fantastic Greg Wells on the back of his recent week-long recording seminar at La Fabrique Studios in France for Mix With The Masters. Greg knows a thing or two about being versatile — he's produced and written with an extraordinary range of artists including Adele, Rufus Wainwright, Keith Urban, Weezer, Pink, Deftones, Elton John and the Count Basie Orchestra.

Streaming overtakes sales for the first time as the leading driver of revenue for the U.S. recorded music business.

It looks like happy days are here again: U.S. recorded music sales were up 11.4 percent in 2016. The industry brought in $7.65 billion in revenue, according to the RIAA, up from $6.87 million in 2015. Although the music business showed signs of a recovery at the half-year mark, the 2016 year-end results show more significant growth, led by streaming revenue.

The oldest and arguably most famous purpose-built recording studio in the world, London’s Abbey Road has been at the forefront of the music business for close to 85 years. Synonymous with The Beatles, the Grade II listed complex has also played home to everyone from Pink Floyd to Kanye West to Adele, with a host of famous film scores and classical works recorded within the building’s iconic white walls.

Owned by Universal Music Group since 2012 following its acquisition of EMI, the facility has recently begun a program of significant expansion, building three new and more competitively priced recording spaces and launching a number of tech and brand partnerships, including a VR tour courtesy of Google. Billboard spoke to managing director Isabel Garvey. who formerly held senior executive posts at Warner Music International and EMI, to discuss the changing role of recording studios, appealing to new artists and breaking into the tech sector. “We’re not just a museum to The Beatles,” says Garvey. “We’re a living, breathing studio making future music history.”

Over the past few weeks I’ve asked 30 extraordinary people in the music industry for their most valuable words of advice for aspiring entrepreneurs. Without further ado, here are 30 pieces of advice from 30 music industry entrepreneurs.

Marasciullo's work on Lil Wayne's best-selling album Tha Carter IV suggests that when labels do dare to invest in albums rather than just singles, the results can be very worthwhile. Marasciullo mixed all but one of the 21 tracks that make up the album, and he and Wayne pulled out all the stops to deliver an album with the best possible sonic quality. Whether this is a direct result or not is up for debate, but Tha Carter IV sold close to a million in the first week after its release at the end of August, while its first single, '6 Foot 7 Foot', went double platinum, and the more recent single, 'How To Love', went platinum in a week.

The Tamar Braxton album Love And War was, says Mikey Donaldson, the "biggest opportunity” of his career, giving him the chance to engineer and mix the majority of a major release. Donaldson is a fast-rising star in the Los Angeles studio world, who modestly still regards himself as an understudy to the legendary mixer Jean-Marie Horvat. That's not to say that Donaldson doesn't already have an impressive track record of his own, which at the age of 26 already includes big names like Kelly Clarkson, Boyz II Men, Ciara, Janet Jackson, Pussycat Dolls, Beyoncé and Natasha Bedingfield.

In this article found in HipHopDX.com, Mark Batson (An award winning multi-platinum producer/ songwriter) explains the importance of audio engineering and the brotherhood they share with artists, producers and songwriters. Using the recent release of "Straight Out Of Compton" and the films failure to represent a vital factor in the creation of the "West Coast Sound" that is still very relevant today. These Technical doctors have mastered and perfected the art of combining science and math with audio technology to obtain a sonic achievement that has taken hip hop records to the highest level they have ever been. Every Decade or so a person come to the forefront of music, a technical artist who is able to wear both hats at a genius level.. a master: in this case better know as Dr. Dre.